Santiago Sierra

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con textos de Olivier Debroise ... [et al

"The first exhibition to offer a critical assessment of the artistic experimentation that took place in Mexico during the last three decades of the twentieth century. The exhibition carefully analyzes the origins and emergence of techniques, strategies, andmodes of operation at a particularly significant moment of Mexican history, beginning with the 1968 Student Movement, until the Zapatista upraising in the State of Chiapas. Theshow includes work by a wide range of artists, including Francis Alys, Vicente Rojo, Jimmie Durham, Helen Escobedo, Julio Galán, Felipe Ehrenberg, José Bedia,Guillermo Gómez-Peña, Francisco Toledo, Carlos Amorales, Melanie Smith, and Alejandro Jodorowsky, among many others. The edition is illustrated with 612 full-colorplates of the art produced during these last three decades of the twentieth century reflect the social, political and technical developments in Mexico and ranged from painting andphotography to poster design, installation, performance, experimental theatre, super-8 cinema, video, music, poetry and popular culture like the films and ephemeral actionsof 'Panic' by Alejandro Jodorowsky, Pedro Friedeberg's pop art, the conceptual art, infrarrealists and urban independent photography, artists books, the development ofcontemporary political photography, the participation of Mexican artists in Fluxus in the seventies and the contribution of Ulises Carrión to the international artist book movement and popular rock music, the pictorial battles of the eighties and the emergence of a variant of neo-conceptual art in 1990. The exhibition is curated by Olivier Debroise, Pilar García de Germenos, Cuauhtémoc Medina, Álvaro Vázquez Mantecón"--Provided by vendor.

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Ingrid Schaffner and Matthias Winzen

"This publication documents the importance of collecting and packaging, storing, and archiving as a contemporary artistic strategy. It lends surprising insight into the process of creating art, which itself is a result of collecting experiences and materials, by using the work of forty internationally celebrated artists as examples." "In Deep Storage, these archives of materials become works of art themselves. The documentation and exhibition of these extreme departures from conventional forms of collection and recollection is a stunning project in the avant-garde tradition." "In accordance with its subject matter, this book is organized like a storage file of information, in which the broad spectrum of artistic contributions and essays and texts by twenty-five authors is presented alphabetically."

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with texts by Lynne Cooke [and 3 others

"The German artist Rosemarie Trockel has gained international renown for a multifaceted practice encompassing painting, sculpture, video, and drawing. Issues including a concern with natural history, the creative expression of diverse species, and the representation and role of women in contemporary culture fuel her work"--Random House website (viewed November 26, 2012).

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essay, Dieter Ronte

"The book celebrates the extraordinary oeuvre of Christo and Jeanne-Claude from their earliest projects up until their latest work, the Gates in Central Park, launched in February, 2005." "Famous for their fabric installations involving both urban and rural sites, Christo and Jeanne-Claude have created some of the most controversial and compelling artworks of the twentieth century. On either a moderate or monumental scale, they offer a powerful artistic experience that can be transcendental or outrageous, depending on one's perspective. Christo and Jeanne-Claude obscure objects, buildings and landscaping by wrapping them, with the intent that reducing visual accessibility enables these to be perceived in entirely new ways. Their art spans the whole globe and their artistic language is perceived as one of compelling immediacy." "Christo and Jeanne-Claude fund all their projects - which cost nothing to visitors - by means of aesthetic recycling, that is, the sale of original works created in connection with their projects. In this way, the financial risk for each major project is borne by the artists, not by the purchasers of their works." --Book Jacket.